DOI Artikel:
Jones, Sydney R.; Forrest, George Topham [Ill.]: The Roehampton Estate: illustrated by drawings prepared in the office of the architect to the London county council
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.41869#0052
THE ROEHAMPTON ESTATE
imposed, and to spare no effort or labour to guide the public taste into the
highest channels.
What was true a year ago is true to-day. The problems awaiting solution
remain the same and, whatever regret may be felt for the passing of the
old order of things, it is the new that is with us and it claims attention. The
present time is full of possibility. In every sphere of human activity work is
at hand waiting to be done, but it will not be satisfactorily accomplished,
nor will anything of permanent value emerge out of the present chaotic state
of affairs, unless thought, judgment, and vision are applied by the workers
to the tasks they undertake to do. This statement is especially true of all
the applied arts. The democratic tendencies of the age, the calls of com-
merce, and the needs of the average man and woman, have already indi-
cated lines of development and
progress, and it rests with the
artist to satisfy the demand, to
give art to the many instead of
the few, if he is to fulfil his re-
sponsibilities to the community.
It has been advanced that such
action may mean a lowering of
standards and ideals ; but this
suggestion is undoubtedly erro-
neous, for history proves that
every great period of art had its
mainspring in the conditions,
opportunities, and limitations
offered by the time in which it
flourished.
During the past few years archi-
tecture has felt the force of
changing conditions as severely
as any branch of the arts. Being
intimately bound up with social,
financial, and labour problems,
it has quickly reflected the dis-
turbing influences that have been
at work. Although the diffi-
culties which have encompassed
architectural practice have been
manifold, two sets of circum-
stances stand out predominantly
above the rest. Firstly, money
38
VIEW FROM PASSAGE IN DOVER HOUSE ROAD
imposed, and to spare no effort or labour to guide the public taste into the
highest channels.
What was true a year ago is true to-day. The problems awaiting solution
remain the same and, whatever regret may be felt for the passing of the
old order of things, it is the new that is with us and it claims attention. The
present time is full of possibility. In every sphere of human activity work is
at hand waiting to be done, but it will not be satisfactorily accomplished,
nor will anything of permanent value emerge out of the present chaotic state
of affairs, unless thought, judgment, and vision are applied by the workers
to the tasks they undertake to do. This statement is especially true of all
the applied arts. The democratic tendencies of the age, the calls of com-
merce, and the needs of the average man and woman, have already indi-
cated lines of development and
progress, and it rests with the
artist to satisfy the demand, to
give art to the many instead of
the few, if he is to fulfil his re-
sponsibilities to the community.
It has been advanced that such
action may mean a lowering of
standards and ideals ; but this
suggestion is undoubtedly erro-
neous, for history proves that
every great period of art had its
mainspring in the conditions,
opportunities, and limitations
offered by the time in which it
flourished.
During the past few years archi-
tecture has felt the force of
changing conditions as severely
as any branch of the arts. Being
intimately bound up with social,
financial, and labour problems,
it has quickly reflected the dis-
turbing influences that have been
at work. Although the diffi-
culties which have encompassed
architectural practice have been
manifold, two sets of circum-
stances stand out predominantly
above the rest. Firstly, money
38
VIEW FROM PASSAGE IN DOVER HOUSE ROAD